Introduction
Tracey Emin is a well know feminist artist of the late 20th century and she is ambidextrous in the field of art. Her versatile genius covers a wide range of artistic mediums like Films, Installations, and Found objects, Fabric, Neon, Photography, Painting, sculpture and Monoprints. She is also a noted author by her own right. However, it should be noted that much of her art is influenced by Post Modernism. (Zimmerman, 2003)
Post Modernism
Defining Post Modernism or post-modernist art is not an easy task since it has acquired characteristics from a wide spectrum of periods, while integrating a variety of architectural values gathered by people of different places into a particular style, which was then popularized as Post-Modernism. According to Charles Jencks, the matter of post modernism is an amalgamation of different ideas and thought processes and together there was referred to as postmodernism. Zimmerman believes in the context of post-modern aspects of art under the parameter of multicultural environment. It is denoted that under modernism the juxtaposition of cultural milieu was an initial set up but during the development of globalization and post-modern ethical principals it is a fundamental need to indulge into the multicultural dimensions. However, it is also to be mentioned that multi-culturist environment is not easily championed and there several ethical problems related to it. From the parameters of art, it is suggested that one must involve deep into the cultural differences and understand the ethical and social differences while incorporating an architectural setting in a foreign culture environment. (Zimmerman, 2003)
Though Post-Modernism sometimes borrow style from historical inspirations to achieve what should be regarded as aesthetically pleasing, it breaks away from the rigidity that the structural grids of Modernism insists, and disregards Modernism’s values of character and order of traditions. Ultimately, Post-Modern art persisted to fly into a design that is full of expression and fantasy with the object of entertaining rather than impressing.
Post Modernism gives more importance to individuality, social, cultural, as well as environmental conditions; an idea that super cedes or overlaps the pillars of Modernism. Hence, the key to qualify a structure as a work of Post-Modernism is to sense its presence rather than to confine it within a specific range of definition. To feel the aura of playfulness that is not present in other styles. (Lamb, 2006) Tracey Emin was particularly influenced by these aspects of the post modernism.
Influence of Post Modernism
The main characteristic of a postmodern artist, like Tracey Emin, is anything that anyone does which has a profound effect on somebody or something else. Some artist can be considered more complex, and some art can be considered simpler in contrast. But, the fact of the matter is, in the eye of the beholder, artist’s expression could be anything. Simply put, something that is aesthetically pleasing is something that appeals to the senses. For instance, if a postmodern artist wanted to create a painting to give off an aesthetic feeling of hope, probably there would not be an over abundance of dark colors. Dark colors are often used to show calmness or even more commonly, something sad and depressing. Also, when painting, if you use wider and more circular strokes with a lighter press on your brush, you’ll give off more depressing tones and colors. So, it would be more advisable to use lighter colors and more agile handling of the brush. Lighter colors often give off a feeling of warmth and happiness, which is something that you would like to be doing if you would like to create something hopeful. Such parameters can be easily seen in the works like ‘Everyone I Have Ever Slept With 1963–1995’ (1995), ‘My Bed’, ‘Purple Virgin’, (2004), ‘Reincarnation’ (2005) or ‘How I Think I Feel 1 and 2’. (Matthews & Platt, 2008)
However, to truly create something that gives off a strong aesthetic presence, one usually must feel some sort of emotional attachment to whatever it is one is working on. The characteristic of a postmodern artist lies in the feeling for whatever it is you are working on. Only then will one truly pour out everything from the heart and mind. When one can accomplish this, one can create something with true aesthetic value in the line of a characteristic of a postmodern artist. If one can describe the emotions in the artwork, it becomes easier for others to understand what one was trying to do, and more often, give them a stronger emotional sense. In a way this creates a bond between the artist and the observer, allowing true aesthetic value to be created within a work of art and this is the main characteristic of a postmodern artist. This fundamental aspect of post modernism is best reflected in the installation art forms of Tracey Emin. The installations with influence of profound post modernism are Poor Thing (Sarah and Tracey) (2001), Feeling Pregnant III (2005), The Perfect Place to Grow (2001), It’s Not the Way I Want to Die (2005), Sleeping With You (2005) or Knowing My Enemy (2002). (Le Corbusier, Cohen & Goodman, 2007)
In the context of influence of postmodern influence, the photograph ‘Guitar’ is a very fine example. This one postmodernist photograph is placed deep into the core of the political ideology of nihilist existence blended with Taoist interpretation of nature and existence. This photograph reflects the initial stages of the rise of reality from the perspective of a person who is listening to the guitarist. The mode of the photograph revolves around the basic theme of the attempt to assassination of truth and development of illusion. Nevertheless, basic measures of the photograph revolves around the concept of “to be or not to be” discussion while determining whether to execute the truth or not and reasons behind not executing with establishment of unreal world, that is at the same time philosophic and political in nature.
One curious aspect of this photograph is the multiple dimensions of truth used in the image. The musician is presenting his versions of his personal achievements to the listener to gain access to him and these are more always presented in half-truths and lies through music, which the listener is to decipher. These half-truths, illusions, and lies are represented in the photograph as costumes and sets are pained in base colors like green, blue and red. The truth or the true versions of the incidents are presented in background as complete milk white. Apart from the aspects of philosophy and political correctness, the basic theme of the photograph, what are most significant about the photograph are the breathtaking clarity in photography that presents stillness and action sequences at the same frame. The use of colors and wonderful picturesque texture are worth mentioning too. It could thus be stated that this photograph is wonderful to watch and is able to evoke thought on truth and political correctness long after the show is over without actually evoking thought towards a centralized goal. No wonder this is a very good example of postmodern photography. (Chaudhuri, 2006)
Postmodern photography is an exceptional art form that is striking and disturbing at the same time. The world of postmodern photography is a predominantly gothic environment without the aristocratic polish that is the significance of all gothic forms. This is a world where the demons of modernity along with its substantial evil forms induced by market economy drives the society with grim and sufferings. This is a world without or with love or compassion where the concept of fear is dissolved with the perspective of mere existence. This world is a juxtaposing entity of physical and metaphysical existence where the world searches for love, peace, and a specific order. It cannot be determined that whether postmodern photography is accurate or is using hyperbole because the form of this art form allows the photographer to drift with the momentum of the subject that incarnates with edges of truth and lies. Thus, the art form is channeled through the parameters of feeling where the individual essence of existence becomes the prime objective and it results in a completely dissolved phenomenon where the concept of illusion and reality seize to exist.
In the same manner postmodern photography’s beliefs combines fiction and nonfiction, multiculturalism and everything results in the experimentation of a new form of photographic expression where the central theme is not fixed but wanders over a spectrum of imageries and themes. It could be mentioned that it is postmodern photography’s belief that an art form is not about a narration but a piece of cognitive thought process and thus the photographer formulates the objective expression in that specific manner. (Fletcher & Cruickshank, 2006)
Discussion
The structures and processes within the art form that should be examined are the artistic management and the technicalities of photography with special interest on the public perception postmodernism systems along with the basic intellectual force available and are quite effective while confronting the confluence of cultures. The artistic management would be on focus because the public perceptions are on the top hierarchy of that postmodern ideal and acceptability is logically related to the public relation of understanding and appreciating. It should looked into the fact is the public perceptions are soft on the issue and furthermore it should be noted whether critical evaluation team if following all the instruction laid down by the artistic expression itself through postmodern photography. However, these measures are applicable for the entire intellectuality of the idea behind the creation.
Defining aesthetic sense can be one of the most difficult yet enjoyable tasks that any person can ever undertake. There are so many factors to consider, and so many different methods of artistic thought, particularly in the case of Postmodern Painting. Some say that Postmodern Painting is an expression, but not everyone agrees that an expression is art. One person may think that a particular object or expression may be artistic, whilst another thinks that it is simply garbage. Before we can determine whether or Postmodern Painting can truly be defined, we must stop and ask ourselves, what is Postmodern Painting? Is art simply using various media and placing them on mediums for looks? Or does it hold a truly deeper meaning. Although we can never truly define what art really is, we can give some basic guidelines about what is and isn’t art. (Lamb, 2004)
Generally, the human race considers art as something that is pleasing to the eye or invokes certain emotions when viewed. And what many artists consider to be art is something which you can do and enjoy and in the end, produce something that gives a feeling of success. There are many different ways to express you using the concept called art. The most common style of art, which most people think of when they think of art, is the painting. The Postmodern Painting is usually just some form of paint media, whether oil or watercolor or whichever style it is, and the paint is then placed on some form of canvas. There are, however, literally hundreds of styles of art within the world. They range from the painting, which although never simple, is not necessarily the most complex way to express you. Art can even be considered in simple writing, usually in the form of poetry. The spoken word can have a more profound effect than physical art. A simple poem can invoke a range of emotions rather quickly. It can be stated that Postmodern Painting is the juxtaposition of all possible art forms and thus it is decentralized yet composite form of narration. (Chaudhuri, 2006)
Conclusion
It is true that the meaning of visual aesthetics varies from person to person and beholder to beholder but the end means of postmodernism is to provide an effective instrument of self-realization and self-enlightenment other than being just a medium of communication. It is true the meaning of postmodernism is vast and it can be determined that everything that has been mentioned in this regard and is the understanding of this vastness and its meaning. Thus, it can be seen that to a person viewing can be a multi dimensional tool of existence strategies. For an individual visual impetus comes out of the nature and subsequent material to ascertain the proper value of existence and survival in proper and just manner of sanity so much so that he tries to breaks all barriers to use vision as a medium of artistic expression too. As a result, it can be ascertained that the meaning of vision, in accordance to the architect, is much more far spread than it is conceptualized in common conceptions. From the point of view of Tracey Emin artworks these elements are the best possible characteristics of her works. Simultaneously, these specific aspects are the same with post modernism and thus it can well be stated that Tracey Emin’s works, though fundamentally feminist in nature, are predominantly influenced by postmodernism.
References
Chaudhuri, S. (2006). Feminist Film Theorists Mulvey, Silverman, de Lauretis, Creed, New York, Canada, and London: Routledge.
Fletcher, B., & Cruickshank, D. (2006). Sir Banister Fletcher’s a history of architecture. Oxford: Architectural Press.
Lamb, D. (2004). Cult to Culture: The Development of Civilization. Wellington: National Book Trust.
Le Corbusier, Cohen, J.L., & Goodman, J. (2007). Toward an architecture. Texts & documents. Los Angeles, California: Getty Research Institute.
Matthews, R. T., & Platt, F. D. (2008). The western humanities. Mountain View, California: Mayfield Pub.
Zimmerman, M. E. (2003). Ethics, Multiculturalism, and Globalization. Professional Ethics, 11(4), 1-14.